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In the few weeks I've been using the iPad Camera Connection Kit, I've found it to be a highly useful accessory. Macworld just posted my official review of the Camera Connection Kit, and it's worth a read if you want to get a fast start to using the accessory.

The highlights for this pair of dock connectors that allow you to directly import images from your camera to the iPad are:

It's fast. I was very impressed with how snappy everything worked. Not at all like the old days of uploading photos to an iPod.

Maintains the integrity of your images. If you upload Raw files, then connect the iPad to your Mac to transfer the images, you get Raw files coming out too. Same goes for Jpegs and movies.

Able to connect iPhones and iPods too. Nice way to move a favorite image from your iPhone to the iPad.

Small on size; affordable price. They don't take up much room, which is important for iPad users, and the kit costs $29.99.

Now I can carry any camera I want with the iPad, take photos, go to a local coffee shop, play with the images, and have them on my Flickr account before my cup of French Roast gets cold. Good times!

What do you do when your referenced masters need to be moved to a different hard drive to maintain the functionality of your Aperture 3 library? At first this may seem like a daunting task, but with a little luck, the process will be easy and painless. I'll explain in this article.

Click on image for enlarged view.

I could tell something was amiss with my LaCie Rugged hard drive that contained the master Raw files for my Aperture library. Suddenly it started auto-disconnecting from the computer, even though the cable was intact. I switch from FireWire to USB (Ruggeds have triple interfaces), and at first that seemed to make it happy. But soon the odd behavior resumed. As I've learned in the past, when a hard drive begins to act up, you must move quickly.

I began the process of moving my nicely organized master files for my Aperture 3 library to a fresh drive. This took a few days to accomplish because the beleaguered drive keep conking out before I could finish the transition. But finally they were all there. Even though the file structure on the new drive, including the name for the drive itself, was identical to the ailing hard drive it was replacing, Aperture showed "missing masters" for all of my referenced files.

Fortunately, I could use the "Locate Referenced Files" command (under the File menu) to reestablish those connections. The process is simple:

Steps to Reconnect Master Files

Click on the Photos icon in the Library tab of the Aperture Inspector.

Click on one thumbnail, then choose Select All from the Edit menu.

Go to Locate Referenced Files under the File menu.

Establish one photo match between the top and bottom pane of the interface (as shown in the illustration). The top pane is your Aperture library. The bottom pane is the new hard drive with the master files.

Click on the Reconnect All button.

Take a short coffee break

When you return, all of your referenced master files will have been reunited with their counterparts in the Aperture library. At this point, I would also create a new Vault and back up your work.

"It was the last day of the 7-day cruise between New York City and
Bermuda, known to us as MacMania10," writes Randal Schwartz. "Derrick taught some very good classes on this cruise, but it was ending, and I was worn out. I had
just finished shooting the last party of the day, and wandered from the
private area for our group over to the bar proper around the corner. I
didn't have a tripod with me, but I noticed that my Canon 7D sat nicely
on the bar, pointed at the shiny surfaces of what normally passes for a
dance floor in the 'Crow's Nest.'"

"I thought it would be interesting to try a nice long exposure here,
although not so long that I would get a super-deep depth-of-field from a
tiny aperture, so I settled on 2 seconds at ISO 200, which resulted in a
f/5.0 aperture. Yes, it was very dark, almost so dark that I couldn't
see most of image that this picture revealed."

"I carefully placed the camera on the bar, using the "live view" feature
to adjust the frame and focal length. Ever so gently pressing the
shutter, I got my 2 second exposure without movement (it took three
tries :). I was really pleased with the variety of shapes and colors on
the screen, but when I got it back into Aperture the next morning, I was
amazed at the depth and range of colors! I was also quite pleased that
the sunset in the windows had the perfect brightness level to enhance
the picture. The range of colors and amorphous shapes -- even the
out-of-focus reflection on the bar right next to the camera -- all add
interesting elements to this picture."

Photo by Randal Schwartz. Click on image for larger version.

If you have a candid you'd like to share, take a look at our Submissions page, then send us your Grab Shot. We'll try to get it published for you on The Digital Story.

The Digital Story Podcast App is the best way to stream or download weekly TDS podcast episodes. No more syncing your iPhone or iPod Touch just to get a podcast. And there's more! Tap the Extras button for free passes and discounts and the current Grab Shot by our virtual camera club members. Each podcast episode has its own Extras button, too, that contains more goodies such as pro photo tips. And the best part is, The Digital Story Podcast App is your way to help support this show.Download it today!

Essential gear for photographers is lighter and more powerful than ever. But how light can you go and still have everything you need? How does 5.5 pounds sound? Yes, that's total weight that includes camera, computer (with full keyboard), tripod, bag, extra battery, extra memory, glasses, cables, iPod, and a few personal items. All of this for less than 6 pounds.

With this set up, I can shoot Raw+Jpeg, transfer photos from camera to computer, upload them to my website, answer email, write notes, edit my pictures, and just about any other task I need. I can use a local WiFi network or tap a cellular connection.

In this week's podcast, I list every item in my Nimble Photographer kit. Plus I include links to these items here in the show notes. You can certainly substitute items as needed, but this lineup will get you headed in the right direction.

Listen to the Podcast

Watch the Movie

In this video, I show you all of the gear that I use for the Nimble Photographer kit.

Simone Brogini was the "Sizzlpix Pick of the Month" for Photo Assignment 49. The prize is an 11"x14" Sizzlpix of the winning photograph. Congratulations Simone! (BTW: it's pronounced "Si Mon Ne" regardless of how badly I pronounce it on the show.)

More Ways to Participate

Want to share photos and talk with other members in our virtual camera club? Check out our Flickr Public Group. It's a blast!

I've always felt that shopping for camera batteries is about as exciting as buying tires for a station wagon. Yes, you need them both, but they cost more than you want to spend and are less than thrilling to use.

Since the manufacturer's batteries are pricy, it's tempting to save a few bucks using batteries made by other folks. So I decided to put this to the test with my Canon PowerShot S90 compact camera. When I purchased the second battery, I opted for the ProMaster NB6L Lithium at $24.95 instead of the Canon NB-6L Li-Ion Battery at $41.75.

The specs for both batteries are the same. And after a few months of alternating back and forth between the two, I haven't noticed any performance differences.

So my initial conclusion is: as long as the third party battery is of good quality, I don't see a reason to pay more for the manufacturer's brand. If you've tested this with other cameras, please post a comment with your findings.

The one accessory you never want to forget when traveling to sunny, colorful locals is the polarizing filter. This item alone will separate your images from those around you.

I recently explored the streets of St. George, Bermuda, and the Royal Naval Dockyard with my Canon 5D Mark II with 24-105mm zoom and a circular polarizer. Even though it's only a 2 hour flight from the Atlantic Coast of the US, St. George feels another world away. I was able to better show the texture and color of this town using the polarizing filter on a sunny day.

Later, in class, many of my students asked why my shots looked so much different than theirs. I cited the pola might be a factor, then asked how many remembered to pack one. No one did. Don't let this happen to you!

Rusty beams during a stop over at the Royal Na val Dockyard in Bermuda. Captured with a Canon 5D Mark II, 24-105mm f/4 zoom with a circular polarizer. Click on image for larger version. Visit the TDS Flickr Gallery for more images from Bermuda shot this way.

In addition to the sexy stuff, Adobe does a great job of adding refinements to each release of Photoshop. I just found this article by Jason Anderson, Five Best Kept Secrets of Photoshop CS5, and he lists some nice touches that you might not know of. My favorite of the bunch?

Sharing Your Monitor -- In CS5, the feature has been added where you can share your monitor with others so you can show people exactly what you are looking at. I can totally see this as a feasible solution for clients that are remote to your location, and travel costs need to be kept down. Even training seminars could be conducted this way...imagine sitting at your computer at work (or home) and watching an instructor teaching you live from their own desktop!

When working with a two-flash set up on the go, you can easily change the power ratios between your main light and the fill light (without having to fiddle with moving light stands around). For my rig, I use the Canon Speedlite Transmitter ST-E2 with a pair of Canon 580EX II flashes.

To set up your rig, make sure the flashes are in slave mode and the transmitter is secured in the hotshoe and turned on. Set the 580 EX II flash on your left to "Group A," and the flash on your right to "Group B." Then all you have to do is press the Ratio button on the back of the transmitter, and choose the lighting scheme using the two navigation buttons to the right of the Ratio button.

For portraits, I usually start with a 4:1 ratio with this rig. But if I don't like the effect, I can easily adjust. I have a total of 13 ratio settings to choose from! This set up works great.

I was curious as to what DP Review would write in their examination of the Olympus E-PL1, a camera that I'm quite fond of. Overall, I think they're on target, especially their assessment of its image quality:

"The most important aspect of any camera is its image quality and it is, without question, the E-PL1's strongest point. By just about any measure, the E-PL1's image quality is very good indeed and, thanks to one the most capable JPEG engines we've come across, is easily accessible to everybody. The camera's metering is dependable, meaning that in most circumstances you get bright, punchy images that make the most of the camera's capability."

I don't completely agree with DP Review's view that the E-PL1 is better for those moving up from a compact rather than photographers looking for a second, more portable DSLR. I think it works for both audiences. But, after all, these are matters of personal taste, and every potential customer has to decide for him or herself.